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Written and produced by French Jean-Yves Leloup together with Maxence Cyrin, Villeneuve & Morando and François-Eudes Chanfrault and Hélène Vogelsinger.

After a stay on the Côte d'Azur, Claude François moved to Paris in 1961. Determined to take the Capital, the young performer recorded new songs for the Fontana label. A few months later, the stunning success of “Belles! Belles! Belles! is soon followed by that of “Si j’avais un marteau”, an adaptation by folk songwriter Pete Seeger. At the dawn of the 1960s, Claude François joined the closed circle of yé-yés idols. Appeared under the pen of the sociologist Edgar Morin, the name "yéyé" designated a generational movement inspired by Anglo-Saxon pop culture. Adored by post-war baby boomers, his protagonists caused a veritable popular tidal wave and shake up the charts. Here starts the yé-yé revolution, and the legend of Claude Francois Ads –London Macadam Reviews –London Macadam, R2

Coming straight from the United States, soul music became an essential genre in the mid-1960s. In France, Claude François, marked by the discovery of serial hits from the legendary Tamla-Motown label of Detroit, became one of its first promoters. Proposed in their French adaptations, the pulsating rhythms and irresistible melodies from the Four Tops, the Supremes and other champions of soul music spread across France. On stage, Claude François also adopted the spectacular performances of his models from across the Atlantic and surrounded himself with the Claudettes, dancers-choristers echoing the famous Ikettes of Ike & Tina Turner. An exceptional showman and performer! Ads –London Macadam Reviews –London Macadam, R2

Bellini: Norma
Opera in two acts · Libretto: Felice Romani
Norma - MARIA CALLAS
Pollione - FRANCO CORELLI
Adalgisa - CHRISTA LUDWIG
Oroveso - NICOLA ZACCARIA
Flavio - PIERO DE PALMA
Clotilde - EDDA VINCENZI
Coro e Orchestra del Teatro alla Scala di Milano
Chorus master: Norberto Mola
Tullio Serafin
Recorded: 5-12.IX.1960, Teatro alla Scala, Milan

A tribute to the late Kenny Hawkes, London's dark lord of house music. Lovingly selected and curated by Luke Solomon, Jonny Rock and Leon Oakey.

Running from 1995 to 2002, 'Space' was a Wednesday night founded by Kenny Hawkes and Luke Solomon. It inhabited the underground world of Bar Rumba right in the heart of London's West End and took place each and every week. Kenny and Luke had both been regular fixtures on infamous London Pirate Radio station 'Girls FM', and were seeking a suitable place to play the kind of music they supported on their respective radio shows. They were presented with a weekly opportunity at Bar Rumba and snapped it up.

'Space' was THE place for 7 solid years, hosting local and international guests from the house music community week in week out, to 200+ hardcore and dedicated followers. Regular guest bookings read like a 'who's who' of the music scene with sets from Derrick Carter, Andrew Weatherall, DJ Harvey, Tom Middleton, A Man Called Adam, Ralph Lawson and Huggy, Harri and Domenic, Francois Kevorkian, Salt City Orchestra, Carl Cox, Chez Damier and Ron Trent.... the list goes on and on and on! Music from seminal record labels such as Classic, Prescription, Cajual, Paper, Relief was played on rotation amongst a killer mix of Disco classics, alternative 80s music, left-field B-sides and techno. The night undeniably became a cauldron of amazing music and midweek hedonistic chaos.

As Soho changed beyond recognition and clubbing moved Eastwards, Kenny and Luke decided to call it a day. Sadly, Kenny Hawkes died in 2011, leaving a huge hole in the dance music community. Kenny was a legendary figure with an unmistakable sound and DJ style, he had a warped sense of humour and a huge personality and he continues to be dearly missed by all to this day.

As a tribute to Kenny, his musical partner in crime Luke Solomon alongside 'Space' regular and DJ / Editor supreme Jonny Rock, and former Classic Records label boss Leon Oakey have joined forces to celebrate his life through music. 3 years of tweaking, pooling music and clearing tracks have culminated in 2 very special double albums and a digital compilation. A collection of 'Space' classics, underground jams and the tracks that shook the Shaftesbury Avenue dance floor, shaping one of London's most revered midweek sessions.

All profits from the compilation will be donated to the British Liver Trust.

"I can't enough of this compilation. It is SOOOO good. This period of 90's French pop/dance needs to be explored more. Highly recommended." :) 1. Marie Touchet - Collège infernal (House Paradise version) 06:29 2. Michel Moers - La route 03:40 3. Anne Zamberlain - Attention danger 03:19 4. Thalie - C'est pas sorcier 03:50 5. Histoires de Filles - House Tube 03:27 6. Fred de Fred - En Amour (Edit 2020) 05:52 7. Techno 90 - Everybody Dancing 03:40 8. Jean-François Maurice - Top Model 02:14 9. Claire An - Près de toi (Je n'ai pas peur) 02:44 10. Artiste inconnu - Opium (Pirate mix)

Welcome to the third part of the TELE MUSIC saga, the label founded by Roger Tokarz. He deeply marked the era with his audacity and his vision of music on film. This irresistible new selection tells the story from 1968 to 1985 of a prolific label that sometimes produced ten albums a year, and which delighted many French and foreign film directors who, to 'flavour' their films, drew on this sumptuous catalogue.
In this volume 3 TELE MUSIC, we have highlighted legendary artists who have left an indelible mark on the history of the music bookshop and on the history of music in general:

• Janko Nilovic (also known as Yanko Nilovic, Anady Loore, E. Orti or Alan Blackwell),
• Jean-Jacques Debout with his irresistible “Mitsuko” released in 1967 and re-released in 1969 on “Music Bazaar”, • Bernard Lubat, the impressive percussionist, vibraphonist, multi-instrumentalist and very good “scator” (Bernard played in the Doubles Six with Quincy Jones and Eddy Louiss),
• Gabriel Yared, the man with a hundred film scores. Arranger and composer for Johnny Hallyday and Charles Aznavour, among others!
• Hervé Roy conductor and writer for Nancy Holloway,
• George Chatelain, pianist, guitarist, clarinettist, founder of the famous studio “CBE” created in 1966 with his sister Janine Bisson and his high school friend Bernard Estardy.

All these composers were renowned for their acute sense of composition, arrangement, conducting and inter- pretation, and in their own way left their mark on many sound recordings of musical illustration "made in France!
CBE, the Chatelain, Bisson and Estardy studio is located in the 18th arrondissement of Paris. Still in operation and run by Julie Estardy, it has been receiving major artists for over half a century. It is a place of reference. At the time: Johnny Hallyday, Claude François, Sheila, Carlos, Françoise Hardy, Nino Ferrer recorded their hits there.
Now it's the turn of Sebastien Tellier, Bertrand Burgalat, Keziah Jones, Tony Allen, Jeff Miles to name but a few. CBE and its giant Bernard Estardy put TELE MUSIC in the best conditions to produce an atypical and powerful sound.
Bernard Estardy had a custom- built mixing console built by his German friend Gunther Loof, offering the perfect tool for recording 4 and then 32-track Arp 2000, Moog, Korg, Prophet synthesizers and all acoustic instruments. The field of experi- mentation was limitless.
Until now, the titles of this collection were only available in vinyl format, via rare and expensive prints that collectors sell for a high price on dedicated websites. This volume 3 gives you access to the "crème de la crème" of the legendary repertoire made in France!

Noise To Meet You presents hand in hand with Univac, Ivna Ji, Francois Dillinger, Lloyd Stellar, UHF, and Cosmic Lydén its 8th release, “Antarctica Station 4”. The darkest reference so far paying tribute to a masterpiece by one of the most influential artists within the global electronic music scene, The Thing by John Carpenter. A heterogeneous compilation that melds the nostalgic and sensitive side of electro with its most powerful nature.

Nada is Bérurier Noir's first 45t EP, released in 1983, originally on vinyl, shared with the band Guernica. 6 punk-psychiatric, aggressive and cold tracks. All in a black and white sleeve, with a terribly disturbing illustration signed by François (singer).

"A delirious rhythm box, relentless guitars, impeccable lyrics, voices from hell, all in a sordid and unhealthy climate, puking as you wish. They walk in the forest, for sure, but their forest is made of concrete, psychiatric hospitals and torture rooms. They're getting uglier and uglier, it's true, but their ugliness is like their music, cold, dark and totally derisory. At last, a dirty record in which one can wallow with pleasure.

In Cauda Venenum n°7 - 1983



The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

For the first time in a white vinyl version + two posters (A2 format with photos, drawings and texts), here is the adaptation of the famous V.I.S.A. tape released in 1983 "Meilleurs extraits des deux concerts à Paris" (Best extracts from two concerts in Paris) which offers a cold and brutal dive into Bérurier Noir's first stage performances.

The title of this album refers to the self-managed factory on rue de Pali-Kao, in the 20th arrondissement, where Bérurier Noir played their first concert. It's easy to imagine the omnipresent smoke that slightly obscures the view, the heady smell of warm beers and the repetitive sound of capsules falling to the ground, the floor trembling under the incessant hammering of rangers, docs and creepers from the audience... This famous raïa, destructive and colourful, which encouraged the duo to continue their adventures whereas François and Loran had simply planned to bury the band after the concert!

Paris, 1965. Pianist François Tusques laid the foundation stone of French-style free jazz with his first, soberly titled, album “Free Jazz”. Also in the team were several future key names of the French scene, (Michel Portal, Bernard Vitet, Beb Guérin, Charles Saudrais and François Jeanneau) all of whom honed their skills at the beginning of the decade in Jef Gilson’s groups, although he was none too fond of the turbulent new face of jazz at the time.

Ten years later, Jef Gilson had obviously changed his tune, as the label Palm that he had created in 1973 was now the launch pad for what would become the cream of French and international avant-garde jazz. This would notably be the case for François Jeanneau and “Une Bien Curieuse Planète”. His first album as leader (after briefly erring into pop with Triangle) was recorded in 1975, a few months after “Watch Devil Go” by his old friend Jacques Thollot, and with more or less the same casting: Jeanneau on sax of course, Jenny-Clark on bass and percussions, Lubat replacing Thollot on drums and Michel Grailler (plucked out of Magma) was called in as a reinforcement for his completely ‘out of space*’ synthetiser sounds. Thus began a strange trip to a very strange planet, at the border of experimental jazz and swinging avant-garde.

From 1960 to nowadays, from Georges Arvanitas to Laetitia Shériff, from Manu Dibango to “Mama” Béa Tékielski, everyone has wanted to play with François Jeanneau at some point. There is a good reason for this. The saxophonist is a formidable improviser, but also a solid composer, as he demonstrates on this record with, for example, the monumental “Droit d’Asile”, the spooky “Theme For An Unknown Island” or the Coltranesque “Mr J.C. For Ever”. Over half a century later, the planet seems far more familiar to us. And François Jeanneau is always on the front line for a guided tour.

Jérôme « Kalcha » Simonneau

Sleight of The Third Eye' is the third release by Total Leatherette - made up of recordings from a two week residency at the CCA in Glasgow. The residency culminated in an 8 hour durational performance in the theatre of the CCA which we dedicated to Linda Di Franco’s Balearic hit ‘My Boss ‘, a segment of which is presented here for the first time.

The tape comes in a limited edition of 100 on Green Glitter Hub Tapes with a Risographed paper sleeve . Mastered for higher listening by Sam Smith.

The only known EP released by Sick Hardcore, a project of Florence based Franco Falsini, the founder of Kaos Records, an important outlet for the Florentine 90s scene. “Digital Justice” is a collection of 4 proto rave dancefloor oriented tracks featuring sample based sounds over heavily percussive patterns of rhythm with an overall darker tone. Sometimes bordering EBM and New-Beat sentiments, yet also touching upon more progressive sounds and breakbeat elements. In addition to the original release's tracklist is a secret unreleased (more contemporary sounding) version of “Clinic Rhythm” which might have been put together by Franco himself more recently – hard to tell, but sure to impact any dancefloor for the better. Generously remastered for big room action.

'Atlantis' is a smouldering jazz-funk, cinematic excursion courtesy of the Brazilian maestro, Daniel Salinas. A conductor, pianist, arranger, and producer, he has worked across several genres within Brazil’s rich musical tapestry, including the Beatles-inspired Jovem Guarda movement, jazz-funk, and MPB to name just a few. He featured on records by Franco, Célia, Perfume Azul Do Sol, Wilson Simonal, Juca Chaves and a whole host of Brazilian greats.

Released in 1973 on Top Tape Records, 'Atlantis’, features one of Salinas’ best-known recordings (at least in Europe), his much-loved interpretation of 'Also Sprach Zarathustra’ entitled 'Straussmania’. It was inspired by Eumir Deodato's global hit of the same year and went on to be adopted by various scenes becoming a classic within rare groove circles as well as amongst breaks and beats diggers.

Other highlights include the only original Salinas composed track on the album; the driving, orchestrated Brazilian groover, 'Baião', and an epic, head nod breakbeat interpretation of Donovan's folky 'Atlantis'.

'Atlantis' was also issued by the American record label Cadet in 1974 with alternative yellow sleeve artwork; this re-issue is a replica of the original Brazilian Top Tape version from 1973.


• Smouldering jazz-funk & cinematic excursions from the Brazilian maestro Daniel Salinas.

• Featuring his much-loved interpretation of 'Also Sprach Zarathustra' entitled 'Straussmania'.

• Replica of the original Brazilian Top Tape version from 1973.

We're delighted to welcome Émile Sornin's solo project, Forever Pavot, to the BMM family, with this heavily retro soundtrack for the French-Canadian motion picture Babysitter directed by Monia Chokri. As a fan of Jean-Claude Vannier and François de Roubaix, Émile illustrates this light and poetic movie with 18 melodic loops and short ambient pieces, faithful to the 60's and 70's French soundtrack style.

After more than 45 years forgotten in the personal archives of Jean Schwarz, Transversales Disques is very happy to release this previously unpublished recording which brings together the great Don Cherry and his friend, composer Jean Schwarz, pioneer in electro-acoustic music and member of G.R.M.
This concert was recorded in 1977 at the Paris MIX festival (Théatre Récamier) organised by G.R.M and hosted by director François Bayle. An elegant mix of spiritual jazz and electronic sounds around this astounding quintet made up of JF Jenny Clark, Nana Vasconcelos and Michel Portal.
Remastered from the original master tapes. Exclusive pictures and liner notes

2023 re-issue, 140g vinyl, reproduction of the classic Tele Music sleeve, full colour insert with liner notes and archive photographs

Wow! Tonio Rubio's Rhythms is a stone-cold killer, a heavyweight library breaks LP and the inaugural release in Be With's new partnership with legendary French library label Tele Music. Yes, you lucky people, there's lots to come. For this extremely special 50 year anniversary re-issue, we've reproduced the classic Tele Music sleeve with a full colour insert featuring rare photographs, fresh liner notes and personal memories of Tonio from the likes of Jean-Claude Vannier, Jean-Claude Petit and Janko Nilovic.

Sumptuous opener “Latin Leitmotiv” is all funky phasing effects and a killer montuno, with what sounds like piano and bass in tandem, stoking straight up Latin fire. The gritty hard funk of blaxploitation groove "Red Medium" is dripping in wah-wah attitude and head-nod oddness. The atmospheric, exotica-tinged "Dead Slow" emulates the languid, sensual afro groove of Quincy Jones’ wild masterpiece “Gula Matari” whilst the proggy, electric jazz fusion epic "Rock 73" is 9+ minutes of moody, rolling menace.

But the *real* highlight of this cult classic - and why it has long been *so* desirable - is the devastating, deep, hypnotic minimalist groove of "Bass In Action N°1". Very much in conversation with Quincy's rendition of "Hummin'", the loping, rumbling bassline and sweet electric piano over clean, crisp drums making it one of those tracks that sounds like a hip-hop beat 20 years ahead of time. Sensational. “Bass In Action N°2“ features Tonio's own vocal scat performance. Remarkable.

Antonio "Tonio" Rubio Garcia got his start playing the double bass in jazz clubs. In 1962, Tonio joined the Golden Stars, the first backing band of France’s teenage idol Johnny Hallyday. A genius musician with a unique guitar sound, he played on standards of French chanson including Serge Gainsbourg and Brigitte Bardot’s "Bonnie and Clyde", Françoise Hardy’s "Tous les Garçons et les Filles", Gainsbourg and Jane Birkin’s "Je T’aime, Moi Non Plus" and Serge and Charlotte Gainsbourg’s infamous "Lemon Incest". Tonio also lent his brilliance to such legendary figures as Janko Nilovic, Jean-Claude Petit, Hervé Roy, and Jean-Claude Vannier. The latter remembers Tonio as “a secretive, mysterious man, with an endearing personality, albeit difficult to reach out to. His virtuosity as a bass player allowed me to write very innovative basslines, because he was able to play any of my eccentricities!”

The audio for Rhythms has been remastered by Be With regular Simon Francis whilst Christopher Stevenson has brought the original and iconic Tele Music sleeve back to life in all its striking glory as the finishing touch to this long overdue re-issue.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.